NewPages Lit Mag Reviews

This is the most beautiful literary journal I've read recently, possibly ever. From the text layout to the colored paper stocks behind the illustrations, each detail contributes to a visually striking book.

It is a privilege to review this premiere issue of a premier publication from the publishers of the time-honored and highly regarded World Literature Today at the University of Oklahoma. Chinese Literature Today is a gorgeous magazine – even the ads are spectacular – and an important one on multiple levels.

One of the things I have always appreciated most about Crazyhorse is Crazyhorse’s appreciation of the capacity of language’s glorious limitations, the way in which what we cannot say, must say, do not say, and end up saying anyway comes to life in the hands of a gifted writer. Here is Jennifer Militello reassuring me that this issue won’t let me down in her poem, “A Dictionary at the Turn of the Millennium”:

Fourteen Hills spans the spectrum of creative writing, producing an exciting and vivid cross-section of contemporary writing. Alison Doernberg’s rich and textured poem “(Save)” kicks off the issue, with “everything / suspended in ink, and everything that is not” an apt description of the content that follows.

The Meadow is an annual published at Truckee Meadows Community College in Reno, Nevada with an editorial staff of faculty, an awards program, and a predilection for personal story and narrative-driven writing. The work of two veteran and gifted writers, Adrian C. Louis and Mark Terrill, and accomplished photographer Dana Oldfather, is accompanied by much student writing, including poems, personal essays, and artwork.

This issue features 7 short stories, four works of nonfiction, and poems by a dozen and a half poets. Best-known writers in the TOC are poets Philip Dacey, Simon Perchik, and Mary Crow. Art Director Keith Demanche contributes a number of captivating black and white photographs of Minnesota nature scenes. They capture with uncanny accuracy the grandeur and drama of the landscape with its massive skies and showy weather.

Guest editor Nanora Sweet defines this issue’s special section on Writing/Politics/Status/Gender as “driven by gender in a political year…a body politic(s) knit tenuously together by that most gendered set of relationships, of family.” Her selection of family-themed poetry, fiction, and essays is largely of work I would describe as affable without being cloying, sometimes deceptively casual while possessing deeper implications, and eminently readable.

More than 360 pages of poetry and prose selected from the 10,000 submissions the journal receives annually. A “spotlight” on Diane de Prima, including a short bio, a number of poems and a story, is followed by poems from more than 70 poets, 8 prose selections, reviews, and this year’s Allen Ginsberg Poetry Award winners and honorable mentions (another 40+ poets). The issue’s highlights include the magazine’s beautiful cover, an original oil painting by Robert Andriulli, “Mill Town Neighborhood.”

Is Bob Hicok stalking me? His name appears in the TOC of nearly every journal I’ve reviewed for so long now that I no longer remember what is was like to read a magazine without encountering a Hicok poem. Not that I’m complaining. Who would dare complain about an opening like this one to “Perhaps an entry somewhere in a book”:

Photographer Carolee J. Friday’s “El Santuario de Chimayo,” at the center of the issue, a beautiful rustic stone church set against shadows that seem almost surreal they are so “hyper-real,” captures beautifully a true New Mexican sensibility. I find the issue’s artwork (photographs, paintings, a graphic story, illustrations), much of which has a decidedly Southwestern feel, especially appealing. Inspired by the region, too, are a short story from Bibi Deitz (“3rd Person, March”), a poem by Kathryne Lim (“Over the Taos Gorge”), and a poem by Michael G. Smith, who is also interviewed in this issue, “Late Autumn Poem, Winter Coming.”

With its announced theme “Issues of Death” and its ghoulish cover of skulls, it’s impossible to imagine that inside this issue of Seattle Review, one of the most satisfying features is a graphic story, “Number One,” written by Janice Shapiro and drawn by Jessica Wolk-Stanley, a wonderfully illustrated tale of “the social pyramid of North Hollywood circa 1965.” And, yes, it’s about death.

“The Ancestors We Were Looking for We Have Become: International Queer Indigenous Voices,” is this issue’s special theme, guest edited by Ahimsa Timoteo Bodhrán. An impressive 260+ pages, the issue includes work by writers from numerous tribes and nations, including writers who originate from and/or have lived in the mainland United States, Puerto Rico, Guam, Hawaii, Sweden, Somalia, New Zealand, Palestine, Costa Rica, Croatia, South Australia, Kenya, Tonga, Nicaragua, Lesotho, Nigeria, Tibet, Afghanistan, Guahan, Fiji, and Canada. The majority are “mixed race” (a decidedly problematic term). Most are widely published. Many are activists and/or active in other arts (dance, photography, theater arts, etc.). Some self-identify as queer, others as gay, others as lesbian, others as bisexual, and others as transgender.